This picture’s setting lends a mysterious air to the scene, making the painting powerful and original.

In the series, Goddesses of Nibiru, he reflects the play on myth and reality. Delicacy and strength are represented by the female figure. He captures beautiful, enigmatic and sometimes almost veiled features, as if in a dream or an illusion. The garments and ornaments that he adorns them with are timeless, objects that may conjure up ancient civilizations, such as feathers and metallic ornaments in contrast with futuristic elements, like strange headdresses and, in certain pictures, beams of light shining out from inside the strange characters’ necks.

Royo brings his own brand of aesthetics, centred on the goddesses that inhabit the planet called Nibiru, following texts from Mesopotamia and Babylon. According to these texts, it is a planet in the solar system that orbits around our star every 3,600 years. Nibiru is the home of the goddesses, of the Annunaki, or in other words, winged creatures.

It is curious that in Mesopotamic mythology a division can be made between Sumerian and Semitic divinities. First came the Sumerian gods, to be later adapted by the Akkadians, Babylonians, Assyrians, Arameans and Chaldeans (all Semitic peoples), only to then go on to become sources for Christian and Hebrew religions to draw on. And they adapted gods like Enki, Enlil, An and Inanna, among others. In some cases, they have similar attributes in the latter religions as in the ancient texts, though adapted and differently named.

When the second year came the men had already exhausted the stored. When the third year arrived the looks and the beauty of people were changed by the hunger. (...) When the fifth year arrived, a daughter would look at her mother; A mother would not open the door to her daughter ... When the sixth year arrived, they served a daughter for a meal.

Atrahasis Sumerian poem on the Creation and the Flood. 2nd Millennium. b.C. approximately.